DEFENSA DE TESIS "THE PORTRAYAL OF DOMESTIC VIOLENCE ON NATIONAL TELEVISION IN LEBANON: THE CASES OF LBCI AND MTV"

Próxima defensa de tesis del Departamento de Comunicación de la Universidad Carlos III de Madrid.

Información de la tesis: 


"The Portrayal of Domestic Violence on National Television in Lebanon: The Cases of LBCI and MTV"

Autor/a: KAFAA MSAED

DEFENSA DE TESIS: "EL ROL DE LA TELEVISIÓN PÚBLICA EN LA COMUNICACIÓN DE LOS MOVIMIENTOS SOCIALES"

Próxima defensa de tesis del Departamento de Comunicación de la Universidad Carlos III de Madrid.

Información de la tesis: 


"El rol de la televisión pública en la comunicación de los movimientos sociales"

Autor/a: PAZ ANDREA CRISÓSTOMO FLORES

*CFP* "SERIALITY RESEARCH", SPECIAL ISSUE, JOURNAL FOR LITERARY AND INTERMEDIAL CROSSINGS

The Journal for Literary and Intermedial Crossings (JLIC) is an international, peer-reviewed open access journal. It publishes high-quality, innovative research engaging with literary and intermedial phenomena from various methodological angles and a wide range of disciplines including studies on literature, theatre, media and culture. The e-journal is supported by an international editorial board and aimed at an academic readership. JLIC offers an online publication platform to researchers from various fields engaging either directly or indirectly with the study of hybrid literary and/or intermedial phenomena. Seriality has become “an endemic feature of our twenty-first-century, hypermediated world” (Lindner 2014, ix) permeating contemporary literature, theatre, tv-series, feature films, narrative games, podcasts, YouTube channels, Instagram and other forms of storytelling social media.

Seriality is traditionally associated with repetition and variation. However, our interest seems to have shifted to the dynamic qualities of seriality. What strikes us and interests us today is not so much repetition but evolution, the development of (story) lines. As a result, the narrative aspects of seriality appear to grow in importance, which seems to go hand in hand with the rise of what is covered by the broad umbrella term ‘storytelling’ (sometimes ‘complex storytelling’, e.g. Mittell 2015). Although seriality is often explicitly linked to popular culture (e.g. Kelleter 2017), an increased interest in ‘seriality as a strategy’ can be observed in all kinds of art forms. Seriality also seems to be an important element in multi, cross and transmedial storytelling as serial narrative strategies spill from one media to another. To the idea of a Serial Shakespeare as “an infinite variety of appropriations in American TV drama” (Bronfen 2020) Ivo Van Hove and Internationaal Theater Amsterdam recently added not just their theatrical serial Romeinse Tragedies (2007, Roman Tragedies) in a carefully reworked online streaming version (2021) but also a ‘classic’ weekly -thus not bingeable- ten-episode tv-serial on Dutch television (2021).

DEFENSA DE TESIS "PROGRAMACIÓN Y RECEPCIÓN DE ANIME EN LA DÉCADA DE LOS NOVENTA EN ESPAÑA: LA FUNCIÓN DEL DOBLAJE EN LA MODIFICACIÓN DE IDENTIDADES NO NORMATIVAS"

  Próxima defensa de tesis del Departamento de Comunicación de la Universidad Carlos III de Madrid.

Información de la tesis: 


"Programación y recepción de anime en la década de los noventa en España: la función del doblaje en la modificación de identidades no normativas"

Autor/a: DANIEL FERRERA LÓPEZ

*CFP* "REPRESENTACIONES SOCIALES, PÚBLICOS Y CONSUMO EN LA FICCIÓN TELEVISIVA", NUEVO NÚMERO (2022), REVISTA COMUNICACIÓN Y SOCIEDAD

Este número monográfico de Comunicación y Sociedad pretende el diálogo y la interacción entre expertos en la investigación sobre televisión, con el objeto de descubrir y analizar las claves de un proceso complejo que contempla la investigación académica sobre los públicos y las representaciones sociales de la ficción televisiva. En los últimos años la ficción televisiva ha experimentado algunos cambios sin precedentes. Ha obtenido una notable relevancia social y un progresivo ascenso cultural. Las series han pasado de ser ignoradas por la crítica y la academia a ocupar un lugar destacado en la sociedad gracias a una combinación de factores sociales, tecnológicos y económicos. Las plataformas que emiten estos contenidos son diversas, los dispositivos que empleamos para visionar han aumentado, cada vez es más sencillo acceder a contenidos variados y transnacionales y se ha democratizado la creación, producción y difusión de bienes culturales.

La aparición de las plataformas de video bajo demanda, el desarrollo de los canales de exhibición de pago y el cambio de estrategia de las televisiones de emisión en abierto han contribuido a extender este género audiovisual de forma masiva y fragmentada. Las razones se encuentran en la necesidad de rellenar horas de emisión y en la valoración positiva y el seguimiento que la audiencia ha concedido y aún concede a estos relatos. Si en el pasado el objetivo era convocar audiencias masivas, el propósito del presente es satisfacer un público de nicho, fragmentado y heterogéneo.

DEFENSA DE TESIS "EL IMPACTO DE LA LEGISLACIÓN EN LOS CONTENIDOS DE LA TELEVISIÓN: EL CASO DE ECUADOR Y LA LEY ORGÁNICA DE COMUNICACIONES - 2013"

   Próxima defensa de tesis del Departamento de Comunicación de la Universidad Carlos III de Madrid.

Información de la tesis: 


"El impacto de la legislación en los contenidos de la televisión: El caso de Ecuador y la Ley Orgánica de Comunicaciones - 2013"

Autor/a: MARÍA FERNANDA MONCAYO RACINES

*CFP* "LATIN AMERICAN TELEVISION FICTION IN TIMES OF CHANGE (2015-2021)", VOL. 7 Nº 2, SERIES: INTERNATIONAL JOURNAL OF TV SERIAL NARRATIVES

Television fiction constitutes one of the basic pillars of television consumption. The arrival of video-on-demand platforms and the ease of internet access, together with the development of pay channels and the evolution of free-to-air television, have turned television fiction into the biggest source of entertainment for the public and the main focus of attention for critics in recent years.

Both nationally and internationally, the production, broadcasting, distribution, and consumption of television fiction are undergoing processes of change that are triggering technological, sociological, and cultural transformations, while also opening the door to corporations in the telecommunications and computer sectors, which have now become predominant actors in this new media landscape.

In Latin America, the television industry operates in a heterogeneous context that nevertheless has certain common features throughout the region, such as the preeminence of free-to-air television, the interconnectivity of the media, and the adoption of technologies that are altering traditional logics. This complex new context stimulates innovation in the processes of production, distribution, and consumption of television fiction content.

*CFP* "BEHIND THE SCREEN AND OFF THE STAGE: FILM AND TELEVISION REPRESENTATIONS OF AMERICAN ENTERTAINMENT", TWO-DAY VIRTUAL CONFERENCE

Behind the Screen and Off the Stage: Film and Television Representations of American Entertainment

Two-Day Virtual Conference

12 and 13 November 2021

London Metropolitan University

 

Movies and television shows set in the world of American entertainment have been a central feature of the big and small screens since the early days of Hollywood. From the backstage musical to the star biopic, and from the rise-and-fall narrative to critiques of the business of show, screen narratives have repeatedly sought to dramatize life behind the scenes of American entertainment. Their persistent allure is illustrated in film and television history ranging from Show People (1928) to All About Eve (1950), and from Valley of the Dolls (1967) to Fosse/Verdon (2019) and Ma Rainey’s Black Bottom (2020). The ten Oscar nominations announced for David Fincher’s 2020 film Mank only reinforce the appeal of the genre for audiences, directors and the film and television industries as reflections on entertainment history in the digital age.

*CFP* "ANY MEDIA... IS HILARIOUS", Nº 3 (2021), GALACTICA MEDIA: JOURNAL OF MEDIA STUDIES

It is difficult to imagine a society where humor is completely absent. From ancient times to the present day, this phenomenon performs the most important functions: from psychological détente to reflection of the socio-cultural and political atmosphere in which this or that community resides. Since the XVIII century, it has also become an instrument of mass communication and political struggle, and becomes an integral part of the mass media.

We used in the title of this special issue for a reason the paraphrase of Will Rogers' saying in Marshall McLuhan's book "Media Understanding" (the original sounds like this: "Any newspaper read aloud from a theater stage is hilarious"), because the well-known thesis of the Toronto School of Communication Theory about the mutual influence of communication and the media, which transmits it, can be reactivated in the direction of the mutual influence of humor as a way to interpret information, on the one hand, and specific media as a way to convey this information, on the other. But in this context a number of important issues for modern communications researchers arise: what happens to media once it is "infected" by humor? Does humor necessarily satisfy the need for entertainment, as claimed by Neil Postman? Can humor have a "serious face"? Parody, caricature, irony, satire -- is there something constructive in them for communication? Does "Humor is always a monopoly of the semi-literate" (McLuhan)?

*CFP* "CRITICAL PERSPECTIVES ON THE FILMS OF ADAM CURTIS", ONLINE CONFERENCE

Critical Perspectives on the Films of Adam Curtis

Online Conference

Wednesday 8th September 2021

 

Critical Perspectives on the Films of Adam Curtis is a one-day, interdisciplinary conference hosted in collaboration with the University of Nottingham’s Institute for Screen Industries Research which critically examines the films of the documentary filmmaker Adam Curtis. The keynote speaker for the conference is Professor Brian Winston. Professor Winston is the Chair of the Lincoln School of Film and Media, founding chair of the British Association of Film, Television and Media Studies and has served as a governor of the British Film Institute. He has published over 17 books as well as receiving a US prime-time Emmy for documentary script writing and a Special Jury prize from the British University Council for Film and Video. To register for the conference please visit our Eventbrite page.

*CFP* "BROADCASTING BEYOND ADAPTATION: REVISITING THE TELEVISION AND LITERATURE DEBATE", FORTHCOMING COLLECTION

The editors of a forthcoming collection on literature and television titled Broadcasting Beyond Adaptation: Revisiting the Television and Literature Debate invite abstract proposals for potential chapters on intersections of Māori/te reo television and literature. Aimed at Palgrave’s Adaptation Series, this essay collection argues for the re-examination of scholarly discourses surrounding televisual and literary histories of cultural legitimation. This collection sees the abandonment of the study of television and literature together and the elevation of “Prestige TV” over other genres as doing little to aid scholars and students in literary and language/culture disciplines studying television, the “art composed of many media” as Sarah Cardwell terms it. As such, we are seeking submissions on genres and styles of television that are underexamined in literary and television studies.

The editors have a loose working definition for “the literary,” and are interested in any variants on this theme, including linguistic, language-based and pedagogical examinations of television. To this purpose comics, TV Guides, graphic novels, poetry, myth and folklore and related ephemera are also considered “literature.” Similarly, “television” is an expansive artform that we see as encompassing most screen content including broadcast news, YouTube, online video and all streaming and broadcast genres.

*CFP* "TELEVISION HISTORIES IN DEVELOPMENT", TWO-DAY ACADEMIC CONFERENCE

Call for papers for a two-day academic conference hosted by the Netherlands Institute for Sound and Vision in Hilversum, the Netherlands on Thursday 30 September and Friday 1 October 2021, organised by Professor Huub Wijfjes and Dr Josette Wolthuis.

On 2 October 2021 we will celebrate 70 years of television in the Netherlands. While this is a milestone worth celebrating, it also offers an opportunity to look back at the medium’s rich international histories. Television has survived its many predicted deaths and adapted constantly to changing social, cultural and technological trends and demands. We now invite scholars to respond to the call for papers below and contribute to a two-day international conference to further existing debates and reflect on the academic study of television history so far.

This conference will offer opportunities to share ideas and exchange research on the medium’s international histories. Scholars of all backgrounds and disciplines are invited to think about the question what role and influence television has had over the last seventy years. The conference seeks to address how television has created its own media logic that has influenced other cultural practices like journalism, sport, politics, theatre and drama, entertainment, youth cultures and education. We invite papers based on academic, preferably historic research about these perspectives. During the conference, we will encourage discussion on the development of the academic discipline of Television Studies from the 1950s until now.

*CFP* CALL FOR PARTICIPATION, FIAT/IFTA MEDIA STUDY GRANTS 2021

The Media Studies Commission of the International Federation of Television Archives (FIAT/IFTA) is dedicated to fostering collaboration between research and archive communities and mediating the growth of scholarly expertise that adds value to audiovisual archives by means of innovative research. To this purpose, the Media Studies Commission has set up the Media Studies Grant as a way to promote and ensure the valorization of academic knowledge for archival practice. It is a programme that offers support for research carried out at FIAT/IFTA member archives or is of direct relevance to one or more of our member archives. Priority is given to projects that are relevant for the history of member archive institutions, or promise innovative insights into (digital) media historiography or archival practice in general.

 

2021 Call for Projects

In 2021, FIAT/IFTA’s Media Studies Commission is looking to commission research that adds value to and helps us understand the role of audiovisual archives in a shifting, converging media environment.

*CFP* "SINGING OUT: THE MUSICAL VOICE IN AUDIOVISUAL MEDIA", EDITED COLLECTION

From the musical numbers of The Jazz Singer and the reality drama of BBC 2’s The Choir, through to the playback stars of commercial Hindi cinema and the competitive performance of karaoke video games, singing has and continues to play a central and special role in multimedia. The act of singing emphasises the gendered, raced, aged, and classed body, and the identifying markers of the voice itself. It draws attention to vocal production in a way that is not only sonically compelling, but also often emotionally acute. It can heighten communication, act as an aid to memory and product placement, and invite judgement from both professional and armchair critics – something the TV talent show has commodified as entertainment in itself. Singing both demarcates and breaks down textual and conceptual boundaries: between narrative and number; professional and amateur; transparency and manipulation; authenticity and the performative; and pathos and camp. As Laing (2000) argues, song ‘transfigures’ speech: it offers both performers and listeners an intensity of experience, of emotion, of being that gives it a special status both on the soundtrack and in the circulation of musical texts outside it.

The collection will explore a broad range of singing voices and sung moments, from lavish musical sequences to the ‘artless’ singing discussed by Gorbman (2011), and from television and cinema through to videogames, online and mobile platforms, advertising, and multimedia installation work.

*CFP* "FIRST THOUGHTS ON LOVECRAFT COUNTRY", SPECIAL ISSUE, STUDIES IN THE FANTASTIC JOURNAL

HBO’s recent series Lovecraft Country takes up the monsters of H. P. Lovecraft’s universe, but flips the script to make the heroes an African-American cast battling various demons in the Jim Crow era. Arguably, the show aimed at a re-appropriation or détournement of the pulp legend’s troubling racism, but critics seem divided on the show’s success. In Dr. Kinitra Brooks’s writings on the series for The Root, she situated it as “a part of the contemporary arts movement that media professor John Jennings coined as ‘Racecraftian,’ inspired by Karen and Barbara Fields in their 2014 book, Racecraft: The Soul of Inequality in American Life.” Therein, racecraft is defined as a practice: racism produces the illusion of race, and Jennings adopted the term (thinking specifically of its homology with Lovecraft’s name) to signify horror narratives that engage with critical race studies for the purpose of dismantling constructions of race. As an adaptation of Lovecraft’s universe, the HBO series would seem to be speaking back to the pulp legend. 

Studies in the Fantastic, a journal founded by Lovecraft scholar S.T. Joshi, seeks submissions for a special issue on any aspect of the show, but we are especially interested in essays that delve into this debate, the works of H.P. Lovecraft, Lovecraft Country,and the Racecraftian turn. Acknowledging that the series is new and that many conferences this year are cancelled due to the pandemic, we are accepting shorter essays (3500-6000 words) driven by scene analyses for this collection that seeks to gather together scholars’ “First Thoughts on Lovecraft Country.” Submissions for this special issue should be received by June 1, 2021. Send to the editor at fantastic@ut.edu

*CFP* "CENTERING WOMEN ON POST-2010 CHINESE TV", SPECIAL ISSUE, COMMUNICATION, CULTURE AND CRITIQUE JOURNAL

Since the beginning of China’s self-modernizing process and the birth of Chinese feminist movements in the first decade of 20th century, women’s bodies and desires have frequently been marshalled in service of male-dominated nationalistic and (post-)socialist discourses of China and Chineseness. The ideological-political mobilization of female gender, sexuality, and subjectivity has considerably transformed and complicated contemporary Chinese televisual representations of women. In the 21st century, Chinese cyberspace, along with its flourishing creative and media industries, has witnessed an unexpected “boom in women-oriented literature and culture” (Sun & Yang, 2019, p. 28). 

 

Notably, the rise of local media and literature produced by and/or for women, along with flows of feminist and LGBTQ movements within and beyond China in the new millennium, first nurtured the cyber literature genre of “matriarchal fiction.” Such fiction is often “set in a society ruled by women … [and] describes a woman’s ascent to power in the public arena, or her success at establishing and heading a happy domicile including one or more male sexual partners” (Feng, 2013, p. 85). 

*CFP* "TRANS IDENTITIES IN THE FRENCH MEDIA", EDITED VOLUME

As a preamble to this call for abstracts, we want to specify that we are using the terms “transgender” and “trans identities” as umbrella terms for people whose gender identity and/or gender expression differs from what is typically associated with the sex they were assigned at birth. Our use of “transgender” or “trans identities” thus encompasses a variety of experiences within and outside the gender binary, and a range of expressions, as trans individuals pursue many different options (medical changes, clothing, make-up, etc.) to bring their appearances into alignment with their gender identity, or may choose not to.

“Transsexualité, transidentité: un tabou français?” (“Transsexuality, transidentity: a French taboo?”[1]): such was the title chosen by the online French news magazine France Info for an article published in 2015 that discussed the lack of visibility and biases transgender people still experience in French society. Indeed, the production of images and narratives about transgender people in a French context is a complex process that demands to be further analyzed. On the one hand, there has been an increasing visibility of trans individuals in film and TV in recent years. TV documentaries such as Devenir il ou elle (Lorène Debaisieux, 2017) and Être fille ou garçon: Le Dilemme des transgenres (Clarisse Verrier, 2017) follow the lives of adolescents as they transition into their authentic gender; director Sébastien Lifshitz dedicated a documentary to one of France’s first individuals to have undergone gender confirmation surgery with Bambi (2013), and he hired a transgender actress to play the main character in his film Wild Side (2004). 

*CFP* "THE X-FILES COMPANION", BOOK CHAPTERS

Este resumen no está disponible. Haz clic en este enlace para ver la entrada.

*CFP* "ONE HUNDRED YEARS OF THE BBC", SPECIAL ISSUE, CRITICAL STUDIES IN TELEVISION

In 2022, one hundred years will have passed since the formation of the British Broadcasting Company, later to become the pioneering public service broadcaster best known as the BBC. The BBC has had an enormous impact on television culture in its first one hundred years, providing a blueprint for independent publicly funded broadcasting. The BBC has been a testing ground for new developments in broadcasting technology and infrastructure. It has provided space for programme makers to innovate new forms, as well as to display national traditions - and invent some of its own. It has offered important public space to playwrights, scientists, politicians, musicians, historians, performers and many more thinkers to enlighten, to amuse, to infuriate. 

Its formative mantra of ‘inform, educate, entertain’ has undergone many modifications over time but these aims remain core to its contemporary ethos. Its goal of providing impartial and balanced news, current affairs and analysis has been tested numerous times in divisive political climates. It was born of a patriarchal, colonialist and elitist view of cultural uplift. How has it changed over its long life?

*CFP* "ONE HUNDRED YEARS OF THE BBC", LIST OF SPECIAL ISSUES, THE CRITICAL STUDIES IN TELEVISION JOURNAL

In 2022, one hundred years will have passed since the formation of the British Broadcasting Company, later to become the pioneering public service broadcaster best known as the BBC. The BBC has had an enormous impact on television culture in its first one hundred years, providing a blueprint for independent publicly funded broadcasting. The BBC has been a testing ground for new developments in broadcasting technology and infrastructure. It has provided space for programme makers to innovate new forms, as well as to display national traditions - and invent some of its own. It has offered important public space to playwrights, scientists, politicians, musicians, historians, performers and many more thinkers to enlighten, to amuse, to infuriate. Its formative mantra of ‘inform, educate, entertain’ has undergone many modifications over time but these aims remain core to its contemporary ethos. Its goal of providing impartial and balanced news, current affairs and analysis has been tested numerous times in divisive political climates. It was born of a patriarchal, colonialist and elitist view of cultural uplift. How has it changed over its long life?

Critical Studies in Television will be marking the centenary of this television institution with a series of themed special issues throughout 2022. Each will explore a distinct feature of the BBC and its work in television, providing historical contextualisation, critique and new debates on the output, culture and influence of this important televisual institution.